What comes after the big milestones? “Forever” finds The Big Moon reckoning with that question, writing toward a future that isn’t guaranteed but still worth believing in. Following frontwoman JulietteJackson’s hearing loss in 2024, the band pivot from doubt to possibility, imagining a happier place and writing their way toward it.
Recorded at Bam Bam Studios with co-producer Sam Cohen, the result is direct, melodic alt-pop built on big choruses and genuine optimism. It’s a record about choosing hope—even when it has to be fought for.
We cannot wait to share this record and new phase of big mooning with you! The first song ‘Gravity’ is out now.
Also we’ll be going on tour and playing our biggest shows ever in the UK. Tickets are released on Friday 3rd July at 10AM. Pre-order ‘Forever’ from our online store to gain access to an exclusive presale.
When Dublin’s Gurriers released 2024 debut album “Come And See”, they underlined their status as a visceral, unignorable new voice in the thriving Irish punk scene.
Since then they have carved out a steadily escalating reputation for bone-rattling, mosh-ready live shows. “Come And See” pushed their lyrical chops and curious, socially-exploratory outlook to the fore too, platforming songs about digital angst and IRL terror in the modern world. In fact, the band – Dan Hoff ( vocals), Ben O’Neill (guitar), Mark MacCormack (guitar) and Pierce O’Callaghan (drums) – had been toiling away since January 2020 on their pandemic-affected but brilliantly ambitious new project. Early singles ‘Approachable’ and ‘Boy’ set out this stall, on music full of cathartic anger and fizzing energy.
The quintet’s superb second album might be called “Nobody’s Coming To Save You”, then, but it could easily be subtitled ‘harder, better, faster, stronger’. This is Gurriers taking all the musical chemistry and smart, interrogational worldview that made them great in the first place, and souping it up to the next level.
With “Nobody’s Coming To Save You”, Gurriers have sent their ambitions sky-high and come out swinging.
“The Irish quintet channelling their anger into fiery punk” – Rolling Stone
With the new record, Gurriers lean into the same charm, sharp dynamics and epic production that first put them on the map, and enhance things further with new pounding rhythms and lyrics that strike a balance between frustration with determination.
Frontman Dan Hoff and co. share the first taste of the LP in the form of the title track, which gradually grows and develops, until it reaches its fierce climax.
“It’s a song that feels hopeless on its first listen, but if you look at it more deeply it’s a call to action, no one is going to rise up if everyone expects someone else to do it. We all have to do our part in creating the change,” the band shared.
It also captures the same motifs of protest, resistance and personal reflection that the Irish band have become recognised for, and the initially bleak feel seems to evolve into a collective call to action with each listen.
(Live on KEXP)
Songs: Des Goblin 00:28 Approachable 05:05 Top Of The Bill 09:01 Nothing Happens Twice 14:02
Gurriers are Dan Hoff – Vocals Pierce Callaghan – Drums Charlie McCarthy – Bass, Backing Vocals Mark MacCormack – Guitar Ben O’Neill – Guitar, Backing Vocals
Feeble Little Horse is naturally delighted to present their third full-length LP, “Bitknot“
The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania. A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, “bitknot” by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-sufficiency” and materialism.
Slocum’s meandering introspection playfully harmonizes against Kinsler’s hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework. Meanwhile, some of Kelley’s most laser-focused drums to date create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.
Unlike songs like ‘Dancing in the Club’ and ‘Cataract Time’, ‘This Is Real’ makes a dissociative trip sound like a blast – in the literal sense, at least. “Put the heater to the–” Lydia Slocum sings before the – nu metal? death metal? neither tag quite conveys the disruptive wall of distortion – guitars complete the sentence for her: max. The Pittsburgh four-piece’s first new music in two years showcases a band not so much harnessing the contrast between hypnotic contradiction and dynamic intensity as erasing the difference. They’re the kind to drill the point home, but not without a twist or two; they’ll let out an indecipherable scream, but not without a real confession. “I got my anger off my chest but/ We’ll never be the same again,” Slocum ultimately sings, hushed and human. It’s a good thing, you venture.
In 2025, Frankie and the Witch Fingers unleashed “Trash Classic” a snarling, feral mutation of their earlier sound, packed with proto-punk venom, angular melodies, and decaying electro textures. The album charted in Billboard’s Top 10 Alternative Album Sales and the UK Official Charts’ Top 10 Rock Album Sales.
Now, 2026’s expanded “Trash Classic Deluxe” crawls deeper into the pile. LP 1 features the full original album, while LP 2 digs through the trash heap of unreleased demos, outtakes, experiments, and fragments from the album’s creation. Remixed and sequenced by the band as a standalone listening experience, LP 2 documents the band’s process and includes liner notes detailing the record’s evolution.
Expanded artwork by Jordan Warren includes a new cover, gatefold, inner sleeves, obi strip, and foil-numbered jackets, all containing two limited-edition “Smog City” dual-colour vinyl LPs.
The Philadelphia-based rock ’n’ roll outfit Low Cut Connie come out swinging in more ways than one on their new albumLivin In The USA.”I made this record because I am disgusted to see our country descend into an authoritarian hell a moral vacuum a place where art does not lead the cultural conversation,” says bandleader Adam Weiner. “I made this album to say fuck you to this regime to the brutality and inhumanity of our political and tech leaders. They are assholes with no class, taste, morality or art in their bodies.
I made this record because I refuse to let these motherfuckers steal our art and steal our joy. Music with soul communicates on a level that no algorithm or tech bro or artificial intelligence or political machinery can ever understand or contain. Rock n roll is a table flipping artform It’s time to flip the table again.”
Seven months after changing their name from The Warlocks, Grateful Dead were a scuffling, unsigned band searching for an identity when they played Bill Graham’s Independence Ball on July 3rd, 1966. That show — making its vinyl debut exactly 60 years later — captures the transformative energy of a band moving almost too fast to catch.
The original performance was recorded by Owsley “Bear” Stanley and the new release was produced by Grateful Dead legacy manager and archivist Dave Lemieux, and mastered by Jeffrey Norman at Mockingbird Mastering with speed correction and tape restoration by Plangent Processes.
While the Dead’s archive is legendary for its depth, complete high-fidelity documents of the band’s first year are rare. The July 3rd recording — which debuted in 2015 as part of the 50th-anniversary box set “30 Trips Around the Sun” — stands as a primary exception. It captures the group in the midst of a radical mutation, a charged R&B dance band already moving toward new musical terrain in the star-spangled ether of the Independence Ball. At the time, the band featured Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan and Bob Weir.”
“The heaviest Deep Purple album in many years.” Deep Purple announce new album “Splat!”explores the end of humanity not in any crude apocalyptic sense but as a metamorphosis beyond physical existence”
“Where we are now with this incarnation of Deep Purple feels very much like a very ‘now’ version of Deep Purple as it was in the seventies,” says frontman Ian Gillan. “I have to say, now we are very much back in with material that is compatible with past songs “Highway Star”, “Smoke On The Water”, “Lazy,” the dynamics, the balance, and the fun of the music we made from 69 to 73.
“Arrogant Boy” the first release comes from Deep Purple’s upcoming 24th album, “Splat!” Classic rock icons Deep Purple, who announced details of their 24th studio album, last week, have launched the first single from the album. “Arrogant Boy“, described by drummer Ian Paice as “a “Highway Star“-style rock’n’roll tune”, features lyrics that’ll leave fans scrambling to figure out who they’re referring to.
“This is the story of Billy, who couldn’t read or write,” says frontman Ian Gillan, with a smile. “He is unhappy with things, so he speaks up, and finds a way of irritating, one way or another, the elite. And I can’t think of anything more fun than irritating the elite. It would be a joyous exercise for me every morning after coffee.”
“It’s a lovely story,” says Paice. “You could use your imagination about who it could be about.”
“It’s amazing,” adds bassist Roger Glover. “What started off as a dubious thought becomes my favourite track on the album.”
Deep Purple have released a second single from their upcoming 24th album, “Splat!” New track “Diablo” follows in the sonic footsteps of first single “Arrogant Boy”, and finds the band in typically frisky form.
According to Purple’s people, “Diablo” opens the door to one of Deep Purple’s surreal new story worlds: the most dangerous place on earth, where a heroine crosses a river, jumps into a fighting pit, celebrates with a bucket of wine, falls into the glitter pool and somehow makes it back home with a tale to tell.”
“It is all about taking chances,” advises frontman Ian Gillan. “Just for once in your life, do something exciting, step out of the mould, take that curious bend in the road instead of sticking to the highway and do something that will, for the rest of your life, either guide or warn you.”
“Diablo” also features some additional guitar work from country star Keith Urban, who seems to be making a habit of this sort of thing, and also appears on “Brown Paper Bag”, the new single from ZZTop man Billy F Gibbons.
Deep Purple have released another new single from their upcoming album “Splat!” The supercharged “Guilt Trippin’envisages a conversation between God and Charles Darwin, the pair sharing a pint or two as they reflect on how things on Earth have not exactly worked out as intended.
“The song starts, and I’m in the studio,” says Gillan. “I don’t have any words for it yet. So I just start screaming. It was the pure joy of yelling it.
“I vowed when I was 40 that I’d stop screaming by the time I was 60. Now I’m looking back and thinking, ‘Whatever happened to that?’ So we’ll give it a go.”
“Guilt Trippin” in the third single to emerge from Deep Purple’s upcoming twenty-fourth album “Splat!”
“Guilt Trippin’ follows the release of first single “Arrogant Boy” in May, and “Diablo” earlier this month, and is accompanied by a video in which a fly and a sycamore-seed spaceship embark on a wild ride through an increasingly surreal landscape.
Deep Purple’s 2026 world tour is currently on the road in Europe, with North American shows scheduled for August and September. Further European dates follow, climaxing in a run of UK shows in November.
“Splat!”, which is produced by regular collaborator Bob Ezrin, will be released on July 3rd
Know well the cost of artistic integrity. In 2020, the Ontario duo – Cody Bowles (vocals/drums) and Kevin Comeau (guitar/keyboards/bass) – were the hottest tip in blues rock, backed by Universal Canada for their self-titled debut and toasted as Breakthrough Group at Canada’s Juno Awards. But when the pair decided – on 2023’s appropriately titled “Fearless” – that their hearts beat to a proggier time signature, the industry turned cold on them.
Now, as they release new album “Apocalypse“, they tell us they prefer to be on the bottom rung of a ladder they actually want to climb, rather than a higher rung of one they don’t.
Formed in 2015, the Canadian progressive rock duo Crown Lands have garnered acclaim in recent years with their self-titled debut album released in 2020, followed by the brilliant 2023 follow-up, Fearless. Now signed to InsideOutMusic, the Juno Award-winning group is poised to take the next step in their journey. While the duo, made up of vocalist and drummer Cody Bowles and multi-instrumentalist Kevin Comeau, work on their third studio album, they are first set to release a pair of ambitious instrumental albums titled Ritual I & Ritual II. Both albums are layered with drums, synths, and various bits of percussion to create a complex tapestry of music unlike anything they have created before.
Recorded during the uncertain period of the pandemic, with the band unable to enter the studio or tour, Bowles and Comeau looked for a creative outlet. “I suppose this record became our act of defiance against stagnation, in a time when so many familiar lights around us flickered out in the deafening silence. It was a glimmer in our darkness,” claims Bowles. “Ritual I” was made during a tumultuous time in our lives, alongside producer Justin Meli in our little B Room at Chalet Recording Studios. It served as a reprieve from the upending haze of the pandemic, far from the high-pressure studio sessions that typically accompanied the pursuit of our mainstream sound.”
Beginning each day with a communion of Psilocybin, followed by yoga and meditation and equipped with a handful of demos created over a few weeks, Bowles and Comeau, started working on the music that would become “Ritual I”.
Bowles explains, “The Serpent,” was the first we recorded, and it wasn’t even one of the demos we’d made to track. It all came together spontaneously within a single day. Perhaps it was the excitement of it all, of beginning something new, or maybe it was the moment Graham Shaw walked in with a collection of the coolest African percussion instruments I’d only ever dreamed of playing— now sitting right there in front of me. Whatever it was, it was magic.”
Bowles continues, “I had studied West African hand drumming, dancing, singing, as well as Afro-Cuban kit drumming for five years in university, so I saw this as a perfect chance to showcase a dimension of myself (and by extension, the band) that few listeners might come to expect from a loud Prog Rock band. We knew right from the onset this record was going to be out-there, with me playing an array of flutes while drumming polyrhythmic bliss over Kev’s undulating and expansive aural matrices of synthesis.”
Other songs follow naturally, eventually resulting in the completion of “Ritual I”. A couple of years later, the idea of “Ritual II” came to be. This time, they recorded the music themselves with Comeau spearheading the recording.
“We wanted to record this one ourselves as our own decompression from the mechanical precision of the Fearless sessions with David Bottrill. It didn’t follow the same process as the first time around, and it was certainly not as fungal! The only constant between the two was the ritual of coming together under a different pretence to the norm—not to fulfill a specific expectation or outer pressure, but rather to create solely with the joy of creation in our hearts. In a special way, this record was truly our own in a way none other had been before,” says Bowles.
While most of the tracks began without a plan and even without direction, the resulting music mysteriously fell into place. The process became a rhythm of its own, a natural cycle that guided the pair.
Bowles concludes, “It felt liberating to be so free with our creativity, and it was the next logical step for Kev and I, both in musicality and in scope: more textures, more strings, more complexity. We hope you enjoy these two journeys into unknown realms, and uncover the mysteries of the “Ritual” for yourself.”
The studio version appears on the album ‘Apocalypse’ 15th May 2026 via InsideOutMusic.
Defying the odds of emerging from one of the most economically deprived areas of the UK, West Lothian, which succumbed to the devastating effects of Thatcher’s de-industrialisation in the 80’s, The Snuts proved themselves to be only Scottish band to break through and gain international acclaim in the past 5 years, despite the unprecedented challenges stacked against them.
After rising from grass roots venues to sold-out arenas, The Snuts return with their most personal album to date. Since their chart-topping 2021 debut “W.L.”, the band have consistently evolved, refusing to be defined by genre, both with their follow up LP, the politically angst driven “Burn theEmpire” (2022) and in 2024, their energetic pop-driven “Millennials”.
Their new record, “Joy In Short Moments”, pairs anthemic songwriting with honest themes of mental wellness, crisis, identity, growth and belonging after a succession of life changing events leading to their most personally raw and visceral songs to date.
Standing on the brink of their biggest chapter yet; The Snuts return their raucous new single ‘Motherlands’ and the emphatic ’Summer Rain’ on this extremely limited edition 7” vinyl. Having cemented their status as one of the UK’s most exciting acts, achieving three Top 3 albums in just three years; The Snuts are gearing up for something very special on the horizon.
With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band – formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable.
Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences – choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning – into the fabric of their music that sets them apart.
Their highly anticipated debut album “The Sweet Goodbye” is released via So Recordings and follows a series of EPs and singles.
The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence and The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track ‘The Head Tree’ featuring The New Eves (No.1 Independent album in 2025).
From the upcoming debut album ‘The Sweet Goodbye’, out 31st July 2026
The Fat Angel Sings 